Trumpets, horns and music / by J. Murray Barbour.
| Author/creator | Barbour, J. Murray |
| Format | Book |
| Publication Info | [East Lansing, MI] : Michigan State University Press, 1964. |
| Description | xii, 190 pages : music ; 24 cm |
| Subjects |
| Contents | Some general considerations. Brass notation ; Modulation ; Crooks -- Clarino style. Fanfares ; Floridity ; Brass with chorale ; Brass license -- Horns in the symphony. Horn versus trumpet ; Allegro horn melody ; Second subject ; Andante and minuet trio ; Finale, la chasse -- Pitch. High trumpets and horns ; Second horn ; Pedal notes ; The ossia -- Conclusion. Stopped notes ; Prospect and retrospect -- Index of musical examples. |
| Abstract | With the aid of over two hundred musical examples, the author has traced the impact of the trumpet and the horn upon the course of music from 1600 to about 1830. The trumpet was used originally for the rhythmic sounding of military signals, a function performed today by the bugle. Early in the seventeenth century composers began to use the trumpet in the orchestra, although somewhat cautiously because its scale was very limited except in the highest octave. Toward the end of the seventeenth century the high (clarino) range of the trumpet began to be exploited most brilliantly. The author shows the effect that trumpets had upon the harmony, melody, and modulatory scheme of Baroque choral music, such as the cantatas of Schuetz and Buxtehude or the operas of Caldara and Steffani. The horn, developed from the hunter's horn, entered the orchestra early in the eighteenth century, performing from the beginning with the same brilliance achieved with the trumpet. In this period the works of Bach and Handel, who wrote well for both trumpets and horns, are given a close scrutiny, with stress upon Bach's masterly horn parts in his setting of Lutheran chorales. Next, the function of the horn in the early symphony is examined in detail, the outstanding names here begin Anton Stamitz and Franz Pokorny--the latter a discovery of the author's. A special section is allotted to the lively French hunting calls (sonneries) and to their artistic use in the symphony, particularly in Haydn's Seasons. Beethoven is well accounted for with over fifty references, half a dozen musical examples being drawn from the Ninth Symphony alone. By the end of the eighteenth century the use of stopped notes allowed the horn to assume a more mellow function. This cantabile style was not neglected entirely by the great Viennese classicists, but was fostered especially by minor composers of the Paris Conservatoire, men like Cherubini, Dauprat, and Devienne. Shortly after the deaths of Beethoven and Schubert, the general use of valves on both trumpets and horns afforded them the complete melodic freedom they previously lacked. This development, however, is beyond the scope of this book. |
| Bibliography note | Includes bibliography (pages 179-181) and indexes. |
| LCCN | 63018488 |
Availability
| Library | Location | Call Number | Status | Item Actions |
|---|---|---|---|---|
| Music | Music Stacks | ML930.B33 T7 1964 | ✔ Available | Place Hold |